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My little eye

This is practice drawing eyes. I think most of my drawings are ruined because I blend everything until it's dead. I know that sounds goofy but I think most folks here will understand. Ironically, I went into this with the intention of not using it all except to smooth the edges but I think I should have used it more. Live and learn.
I'm going to do another one, this time using the knife more.
I based it on a Mark Crilley tutorial: http://www.youtube.com/watch?v=lJ25OngOLts

The last time I kept an open mind,
my brain fell out and the dog grabbed it.
Now it's full of dirt, toothmarks, and dog slobber.
No more open minds or dogs for me.

Personally, when it comes to drawing something specific, I believe that so long as your main lines and shapes are intact that the tonal stuff (blurred or not) is not a make or break thing. The tone is less important to the read of the image structurally. So in other words, if you look at a drawing for the essentials, if you have a strong line drawing where the structural lines are placed with some precision, and the line weights are appropriate, thereafter it's generally not going to get screwed up by a blurry tone because the structure is sound.

In fact, you can get loose with the tonal part for effect in some styles. But tone can enhance it all the way to photo real having conformed to realistic dimensional support for the structure, or on the other hand it can be like a loose wash where it only indicates a swashy splash of tone (and these considerations of how to go about that are what much of the artistic decision making is based in).

I'm speaking in drawings where line is the main thing. If one is doing a tonal drawing, that's a different use of tone where it creates the structure. Your picture looks primarily linear in approach. The tutorial started out with a line drawing and then the tonal stuff got added to create the illusion of realism.

There are so many forks in the road of creating such a drawing any number of which could have taken you in different directions. But I think the unifying factor among them is a solid structure.

All that hatchy tonal stuff is fine albeit a little exploratory and general. This quality will change with experience. I'd recommend focusing more on the structure and let the other stuff sort itself out.

Like I said, it's a good effort here. Keep going!

"Not a bit is wasted and the best is yet to come. . ." -- remembered from a dream